When you walk into White Page Gallery for "Transition and Decay," a group show featuring Ryan Fontaine, Andrew Mazorol, and Minori Sanchiz-Fung, there is a sense, for a moment, that you’ve entered into some kind of religious sanctuary. There’s a curious spirituality to the show, with a coy nod to the divine.
Mazorol has paintings in the show, but what stands out are his sculptural works. One piece, Ornate Resting Pew, is an antique bench that has been doused in wild colors: The seats are painted with diagonal stripes while two back panels of the bench have trippy snakes surrounded by diamond borders. The colors contrast with the patterned wood of the bench. The play between psychedelic and austere places the work in some bizarre dream realm that’s oddly spiritual.
Mazorol’s other sculpture, Coffin Painted in Harlequin Pattern, juxtaposes a fun, jittery aesthetic with a morose object. It suggests somber rituals that somehow end up being wild parties.
While Fontaine’s work is less flamboyant, it speaks to Mazarol’s sense of ceremony. One installation piece, Exterior of a Lumen, looks like the setting of some mysterious sacrament. The main piece is a large off-white gong-looking object hanging from a wood frame. It’s paired with a two-dimensional object that, like Fontaine’s other works in the show, is created with a mix of polyurethane, lacquer-based ink, and epoxy resin. It looks like a whiteboard. It’s not immediately clear why these two objects are paired together, but sure enough by looking at them they are part of the same piece, intricately linked by some metaphysical connection. Perhaps it's the close angle in which they face each other, their similar color, or just an energy that hovers over both parts.
Meanwhile, Fontaine's Calendar is just a white slab with little black blotches all around it. This piece speaks to the show’s title, “Transition and Decay,” in that there is an overall sense of something that is important but fading. You can lose yourself in it, somehow.
Though Minori Sanchiz-Fung made it to the opening last weekend, her art did not. After detours in San Diego and Los Angeles, Sanchiz-Fung’s collection was sent to New York instead of Minneapolis, so visitors had to do without them at the opening.
They’re up now, fortunately. Sanchiz-Fung’s paintings have a dreamlike quality of lost worlds and fantastical destinations, but like Fontaine’s works, they embody erosion. The paint Sanchiz-Fung has used has been purposefully dripped, creating a repeating pattern of vertical lines that fall down to the bottom of the pieces.
Sanchiz-Fung employs geometric shapes in her paintings, even as she pushes the flow and spontaneity of the paint. She also leaves certain areas unpainted, so that the worlds she creates often appear to be floating. It's as if those stretches haven’t been dreamed up yet.
IF YOU GO:
"Transition and Decay"
Through February 12
The White Page Gallery
3400 Cedar Ave. S., Minneapolis.
Open Hours are Sundays and Mondays, 1-5 p.m.
There will be a closing reception Thursday, February 11 from 6 to 9 p.m.